I’ve always
found Bram Stoker’s Dracula to be a fairly unexciting narrative, if only for
the fact that its story has been told enough cinematically to remove any
element of surprise. Francis Ford Coppola does his best to remedy this, though
he does so by vamping up the art direction and campy sexuality rather than the
story. Sadly, the lush photography and over-indulged practical effects does not
save the film from the amateurish acting by the younger cast members and the
decision to make Dracula a protagonist in search of a lost love. While many
movie monsters inspire sympathy in the audience, this has always worked much
better with Frankenstein’s monster than with Dracula, and it takes away from
the frightening elements of the genre.

‘My Favorite
Martian” was a trailblazing series, laying the groundwork for many popular
fantasy sitcoms over the years. Without this show, there might never have been
“3rd Rock from the Sun,” “ALF,” or even “Mork and Mindy,” not to mention all of
the other fantasy shows with genies and witches rather than aliens. All three
seasons and 107 episodes of this classic 1960s series are available for
purchase in this complete collection, along with an expansive compilation of
new and old special features.

Though this box
set with 8 discs of Don Rickles entertainment collects some of the performer’s
most memorable television moments in one set, there is only one disc which has
not already been released individually. Along with all 37 episodes from the 2
seasons of “CPO Sharkey,” this set also includes 4 uncut specials and plenty of
unedited bonus footage of the “nice guy who finishes first.” These plus plenty
of additional extras make for a wonderful box set, perfect for the dedicated
fans of Don Rickles and classic television.

It is remarkable
how many successful comedians come from tragic loss and a traumatic past, but
not nearly as amazing as what comedian Barry Crimmins used this pain to
accomplish, on and off stage. Call Me
Lucky gently allows this narrative to unfold, never forcing or exploiting
the material. Director Bobcat Goldthwait appears briefly among many other
comedians to tell his own personal connection to Crimmins, but his handling of
the subject is always distanced and respectful, never contrived or emotionally manipulative.

Finding the
delicate balance between sentimental and realistic, with humor bridging the
gap, Me and Earl and the Dying Girl
often feels like independent cinema’s answer to films like The Fault in Our Stars. With the most expensive acquisition of any
film to be bought at the Sundance Film Festival, there is a crowd-pleasing
quality to Me and Earl and the Dying Girl,
regardless of the dark humor utilized in the cumbersome title. Try as the film
might to stay away from the cliché trappings of the familiar narrative, it
ultimately cheats in order to remain original as long as possible while still
providing many of predictable plot points for this type of narrative.
Regardless of constant assurances through voiceover, this film goes exactly
where it is expected to go, even wrapping the narrative up neatly with the
cliché voiceover of a letter written to a college admissions department.

I’m struggling
to write this review, because I’m worried that my words won’t adequately
represent the subtle charms of a film like In
the Courtyard. Although it is extremely French at its core, the film’s
themes are universally relatable, with performances from the leads most
effective through the silent expressiveness of their faces. There is a lot
about the structure of this narrative which aligns with the dramedy style found
in a majority of American independent cinema, combing awkward humor and
familiar pangs of realistic struggle. This is recognizable in any language,
regardless of ethnicity or nationality.